Development on the Perception of Chinese and Western Music Emotion in Children

Abstract

Abstract: Music emotion perception refers to recognize emotions expressed through music. Selected subjects of 3 years old, 4 years old, 5 years old and college students were tested to know their capacity in recognizing the 4 emotional expressions of anger, sadness, tenderness and happiness through being exposed to the Chinese folk and the western classical music. The results showed that: 1)The recognition ability to music emotion improves with the increasing of age whilst 4 years old is a turning point for the development of such perception, The ability of 5 years old is close to adult; 2)The recognition to different emotional category in music varies among children, happy is better than others; 3)The recognition ability of music is not affected by music culture.

Key words: music, music emotion perception, development, culture, emotion.

摘要： 音乐情绪感知是指听众对音乐表达情绪的认知和理解。本研究选取3岁、4岁、5岁和大学生四个年龄阶段的中国被试，探讨了他们分别在中国音乐和西方音乐条件下，对愤怒、悲伤、抒情和高兴四类情绪的感知能力及发展特点。结果显示：（1）儿童音乐情绪感知能力随年龄的上升而提高，其中，4岁是儿童获得基本感知能力的重要时期，5岁时已达到成人水平；（2）儿童对高兴情绪的感知能力优于其他情绪类型；（3）儿童对中国音乐情绪和西方音乐情绪的感知能力并无显著文化差异。

关键词: 音乐, 音乐情绪感知, 发展, 文化, 情绪

CLC Number:

B842.6

Ma Xie, Tao Yun, Bai Xuejun. Development on the Perception of Chinese and Western Music Emotion in Children[J]. Studies of Psychology and Behavior, 2017, 15(2): 233-239.

马谐, 陶云, 白学军. 儿童对中—西方音乐情绪感知的发展研究*[J]. 心理与行为研究, 2017, 15(2): 233-239.

References

[1] 樊祖荫.(2003). 中国五声性调式和声的理论与方法. 上海: 上海音乐出版社.
[2] 罗小平, 黄虹.(2008). 音乐心理学. 上海: 上海音乐学院出版社.
[3] 刘承华.(1997). 中西音乐形式的差异及其文化内涵. 黄钟,(3), 3-7.
[4] 马谐, 白学军, 陶云.(2013). 音乐与情绪诱发的机制模型. 心理科学进展, 21(4), 643-652.
[5] 马啸.(2012). 4-6岁幼儿动态表情识别能力发展特点. 硕士学位论文陕西师范大学.
[6] 王耀华, 乔建中.(2010). 中国传统音乐结构的思维方式、创作方法及其特点. 中央音乐学院学报, (1), 41-46.
[7] 章吉, 陈英和, 李雯.(2012). 儿童混合表情识别的发展及与基本表情识别的关系. 心理与行为研究, 10, 120-124.
[8] Allgood, R., & Heaton, P.(2015). Developmental change and cross-domain links in vocal and musical emotion recognition performance in childhood. British Journal of Developmental Psychology, 33(3), 398-403.
[9] Boone, R. T. & Cunningham, J. G.(1998). Children′s decoding of emotion in expressive body movement: The development of cue attunement. Developmental Psychology. 48, 32-44.
[10] Corrigall, K. A., & Schellenberg, E. G.(2016). Music cognition in childhood. The child as musician: A handbook of musical development..
[11] Eerola, T., Lartillot, O., & Toiviainen, P.(2009). Prediction of multidimensional emotional ratings in music from audio using multivariate regression models. In Proceedings of 10th International Conference on Music Information Retrieval(ISMIR 2009), 621-626.
[12] Eerola, T.(2013). Review of strong experiences with music: music is much more than just music. Psychomusicology Music Mind & Brain, 23(1), 49-51.
[13] Juslin, P. N., & V stfj ll, D.(2008). Emotional responses to music: The need to consider underlying mechanisms. Behavioral and Brain Sciences, 31, 559-621.
[14] Kawakami, A., & Katahira, K.(2015). Influence of trait empathy on the emotion evoked by sad music and on the preference for it. Frontiers in Psychology, 6, 1541.
[15] Koelsch, S.(2014). Brain correlate of music-evoked emotions. Nature Reviews Neuroscience, 15(3), 170-180.
[16] Livingstone, S. R., & Thompson, W. F.(2009). The emergence of music from the Theory of Mind. Musicae Scientiae, Special Issue 2009/10 "Music and Evolution", 83-115.
[17] Maike, K. Hedder.(2010). A new non-verbal measurement tool towards the emotional experience of music. Graduation committee: Universiteit Twente, 8.
[18] Morrison, S. J., Demorest, S. M., Campbell, P. S., Bartolome, S. J., & Roberts, J. C.(2013). Effect of intensive instruction on elementary students’memory for culturally unfamiliar music. Journal of Research in Music Education, 60(4), 363-374.
[19] Nawrot, E. S.(2003). The perception of emotional expression in music: Evidence from infants, children and adults. Psychology of Music, 31, 75-92.
[20] Stalinski, S. M., & Schellenberg, E. G.(2012). Music cognition: A developmental perspective. Topics in Cognitive Science, 4(4), 485-497.
[21] Smith, L. D., & Williams, R. N.(1999). Children′s artistic responses to musical intervals. American Journal of Psychology, 112(3), 383-410.
[22] Thompson, W. F., & Balkwill, L. L.(2010). Cross-cultural similarities and differences. In P. Juslin & J. Sloboda(Eds.), Music and Emotion,(2nd edition).(pp. 755-788). Oxford University Press.
[23] Trehub, S. E., Becker, J., & Morley, I.(2015). Cross-cultural perspectives on music and musicality. Philosophical Transactions of the Royal Society B Biological Sciences, 370(1664), 20140096.
[24] Trainor, L. J., & Hannon, E. E.(2013). Musical development. Psychology of Music, 423-497.
[25] Trost, W., Ethofer, T., Zentner, M., & Vuilleumier, P.(2012). Mapping aestheticmusical emotions in the brain. Cerebral Cortex, 15, 760-769.
[26] Trehub, S. E., Hannon, E. E., & Schachner, A., M.(2010). Developmental perspectives on music and affect. In P.N. Juslin & J.A. Sloboda (Eds.), Handbook of music and emotion: Theory, research, applications(pp. 645-668). New York, NY: Oxford University Press.
[27] Zentner, M., R. & Eerola, T.(2010). Self-report measures and models of musical emotions. In P. Juslin & J. Sloboda.(Eds). Handbook of music and emotion: Theory, research, applications(pp. 187-221). New York: Oxford University Press.